jeromewillner Reviews

One False Move (1991)

A quality movie with an undeniably troublesome moral-payload - to watch/or - to not watch.

[7/10 · 23 March 2023]

"Director Carl Franklin's Career as a Movie Director spans from 1986 to 2012 (26 years). His career as a director in TV spans from 1993 to present day (30 years), and his work as an actor began in 1973 and ran until 1992 (19 years). At the time of making this, (his fourth movie), he had 20 years of experience as an actor, having appeared in luminary shows such as The Streets of San Francisco, The Incredible Hulk, The Rockford Files, Quincy, M. E, The A-Team, Hill Street Blues, and Roseanne (among others). This exposure meant he brought an incredible breadth of material, style, and talent, from which to synthesize his own directorial vision. With his largest budget so far ($2M), and under the auspices of heavyweight freelance Media Producer & Consultant, Jesse Beaton (whome he would later marry in 2000); Carl Franklin set to work. It's worth mentioning, this movie had originally been intended as a Straight-To-Home-Video production. Co-Writers, Billy-Bob-Thornton, and Tom Epperson had previously Co-written and sold other material, but this offering of theirs, under the Beaton-Franklin influence, gained so much traction and unexpected support, the project was re-purposed for theatrical release. So what we have here, are a relatively unknown writer, and a promising director, both at an early point in their 'new' trajectories in 'the business', and who both 'spring-board' to better and bigger things. That having been said, just what makes 'One False Move' such a stand-out movie in the early 90's?

This movie places drugs and drug-dealing, principally in a black African-American community. From there it explores themes of betrayal, and extreme brutal violence. What may make this movie so different, is how it then uses a plot-shift to widen the horizon and explore the contrast between urban and rural communities, and how these very different communities view one another through different stereotypes. Finally, there is a further plot-shift that arguably explores how the echoes of colonial dominance and despotism, not only shape human behavior today, but also and insidiously, 'perhaps even inevitably', shape all of our futures, to the extent to which we may allow them to do so. These are unfathomably deep multi-layered-themes, and to succeed so well in exploring them, within this crime & justice genre, is surely a sign that we should be paying attention to.

Exploring the early-violence themes in this movie ... It could potentially be argued, that some of the early violent scenes, threatened to damage the movie's credibility because they are so extreme. One could imagine the censors, considering these early scenes, then considering the movie in its entirety; and making a favorable judgement overall; based not on the early gratuitous violence, but on what would be explored later on. Not having been there, this is no more than speculation, but the impact of such brutality, and the visceral reactions these will provoke, may serve to shock the audience into a heightened sense of alertness. In this 'heightened' state, the audience may be better prepared to pay attention, and to also be more receptive to, the more complex ideas that would follow. This 'possible-tactic', weather accidental or purposeful, should surely be watched and guarded carefully. There can be no denying that this movie 'literally' rides the knife-edge between what is acceptable to show on-screen and what is definitely not acceptable. Subtle speculation about censors and motivations aside; one could wonder that a movie of this impact and quality, failed to enjoy wider release, and commercial success; precisely because of the choices made, to include (and not to cut), certain of its violent early scenes. With these 'difficult' scenes only being alluded to, and not directly challenged, by critics such as Hal Hinson (Washington Post), or Roger Ebert; this 'critical-anomaly' may reveal a fracture-point-paradox between a (desire or need) to shock, thrill, entertain, and/or to disturb; and a responsibility to control this impulse, and moderate the 'message', for the greater-good.

This surely then, is a quality, movie with an undeniably troublesome moral-payload, reflected in its own genesis and our 'informed' choice to either watch it, or to avoid it."

Copshop (2021)

An unexpectedly better-than-average cop-gangster thriller, with some intelligent twists.

[7/10 · 22 March 2023]

After a shaky start, and a few early-on 'bad-movie tropes', Cop Shop settles down to be of much finer material. The female lead is strong but empathic, which is unusual for this genre. The plot's bad-guy themes of psychopathy, murder, and betrayal, are routine if not pedestrian, but set jarringly at-odds with the home-stead family vibe, of the good-guys. And finally we have some character-reveals and plot-shifts that take this beyond the stale fare of good-guy bad-guy narratives, leaving us a few things to raise an eyebrow at, and perhaps, to reflect on. Last but not least, the music score, pace, and dialogue, are surprisingly punchy, with more than a slight echo of Tarrantino-esque style. An unexpectedly better-than-average cop-gangster thriller, with some intelligent twists.

The Flight of the Phoenix (1965)

Thank God, the best of stories, like the best of movies such as these, are unlikely to grow old, so long as there are still folk around to appreciate them. Rare and Excellent.

[9/10 · 24 March 2022]

Though not initially a commercial success, Lukas Heller's screenplay adaptation of Elleston Trevor's novel of the same name, directed by Robert Aldrich, delivers a perfect storm of a movie. One that combines the talents of great writing, a nose for the moral heart of a story, and an edgy direction, that isn't afraid to explore the human psyche at it's best and at it's worst. This movie boldly treads seldom trodden paths, and in doing so, takes us on a tour to the very tattered edges of what remains of civilised human behaviour, after the normal constraints provided for by enough to eat and drink, are lying around broken, in despair and ruin. It's a psychological roller-coaster ride, and just like the capricious turns of fate in all of our lives, the end is never certain either. The fact this was filmed in 1965, makes this work 57 years old. Thank God, the best of stories, like the best of movies such as these, are unlikely to grow old, so long as there are still folk around to appreciate them. Rare and Excellent.

The Deadly Trackers (1973)

A fine yet unsettling work, that deserves to be re-discovered for this generation, and others that will follow.

[9/10 · 23 March 2022]

Based on the combined writing talents of an author of a novel 'Riata' by Samuel Fuller, and the screenplay adaption by Lukas Heller, this western format movie, explores existential themes like good and evil, right, and wrong with devastating clarity. The over-arching theme of how to effectively and ethically neutralise evil in our society, is held throughout, alongside the inevitable contradictions that arise from the natural and understandeable urges to exact revenge. In essence, the moral stance of this story gives little comfort, because of it's neutral yet brutally honest conclusion. Every position, no matter what that position is; comes at a price. A fine yet unsettling work, that deserves to be re-discovered for this generation, and others that will follow. Highly recommended.

Mountains May Depart (2015)

This beguiling baggage, will haunt you long after you cease to care why you just didn't get it.

[5/10 · 11 February 2022]

A confusing and disjointed oddesy that wins emotionally, but remains obscure and inpenetrable to comprehension. If you have time to waste on a mystery of emotional narratives with more holes than a swiss cheese, then sit down and fill your boots, because this beguiling baggage, will haunt you long after you cease to care why you just didn't get it.

Alien: Covenant (2017)

Prepare to dive deeply and to be deafened by the answers to the echoes of your own questions. A very Zen, Pure, and Subtle, Sci-fi Classic. Bravo.

[9/10 · 31 October 2021]

The birth of a new member of the family can be difficult. While Alien: Covenant stands in the sunlight, lifted high on the shoulders of its predecessors, it quietly heralds the dawn of a new horizon, at the same time as doing its best to ignore the lengthening shadows, cast by the baggage of its genesis.

It may be fashionable to prefer this movie to Prometheus, but in many ways, Prometheus may have been the chicken, with Alien: Covenant, as the egg. This might seem a strange opening for a movie review, but maybe one you will forgive, because as you may hopefully appreciate here, Alien: Covenant is one quietly strange, but also one quietly brilliant, movie. On some level we realize the chicken has hatched out and is running around, but we don't really know what's on its mind, and Alien: Covenant isn't telling.

Alien: Covenant is also, (and quite rare for being this), an example of a pure movie experience. Pure in the sense that it will only take you as far as you are willing to go and no further. It does not tell. Neither does it ask. That is surely 'Zen-purity' in movie form.

As spectacle it-works, as horror it-works, as technological odyssey it-works, as fantasy it-works. But as a work of existential-challenge it-also-works. The movie does not ask the questions, it lets you do that, and only if you really want to. By the way, you have to find the answers for yourself as well.

This movie presents a number of puzzles. Some obvious and some subtle. In fact, there are so many puzzles, this movie just might be a strong contender for the 'Devil's Advocate Award', of the millennium. The point, and it's a dazzlingly simple one, is to not focus on the plot, nor to judge it, but to experience and weigh the unfolding of events. Ridley Scott even tells us this twice in the movie, which in this case is not a spoiler. Don't expect Alien: Covenant to shout. Some of the puzzles are posed by the slight raising of an eyebrow, or some quietly spoken discarded comment. The point is, if you missed it, you probably weren't paying attention, and don't deserve to appreciate the subtle prompt towards a possible idea, that was on offer.

So let's go back to 2012.

Ridley Scott's Prometheus, unlocked the enigma of the Creator Engineers and unravels the back-story (As a Prequel), in two parts. Alien: Covenant acts as a Prequel to (coming before), the other movies, but as a Sequel to (coming after), Prometheus.

It's probably fair to say that you really need to watch Prometheus before watching Alien: Covenant. Once you've done this, you might be primed, but probably you won't be quite ready, for what Alien: Covenant may appear to be offering. It's not so much of a linear sequel, but perhaps more of a plot-vehicle to deliver a bigger narrative or a bigger story. Much Bigger.

So back to Prometheus-2012 again ... Firstly, man strives to gain the ultimate knowledge. This is represented in the form of a brilliant and wealthy entrepreneur who funds a research mission to disguise his true mission, which is to discover the creator engineers and ask them 'The Ultimate Question'. His funding of the apparent rescue mission, gives him the power to deploy or insert a brilliant invention of his at the heart of that mission. His brilliant invention in this case, takes the form of a humanoid android, which he has instructed to nurture and protect his true mission's objective. While he has designed the android very well to protect his true mission at all costs, he has failed to design any counter-measures for the android turning, against him or against mankind.

This theme of, wielding incredibly capable technology, while simultaneously lacking the competence to wield it wisely; is re-iterated in the Second.

Secondly, whilst performing his duties as a crew member of a rescue mission, the Entrepreneur's android, skillfully manipulates his crewmates who think they are simply answering a distress beacon, when in fact, they are unwittingly helping to bringing him face to face with the creator engineers, who are the subjects of his master's mission; and their incredible 'ancient' technological artifacts. We are brought to a partial understanding of the creator engineer's ancient fear and hatred of mankind, and how this led them to create a weapon for a final solution. We learn that their weapon was so devastating it could not be contained, and led to their own destruction.

The arc of these two plot-lines (The Entrepreneur's Agenda & The Creator Engineer's Agenda), may appear to run in parallel because they only seem to gain significance as we learn of them. Events that unfold from these 'Actors' agendas, do define the reality experienced by the 'little people', who are affected. The purposeful power of these 'Actors', overwhelms the relatively miniscule creative power of the 'little people'; so in a sense they and their all-powerful Agendas are truly 'God-Like'.

Though the reactions of the 'little people' may register in the universe, this is only a minute effect when compared to the overwhelming power of the Gods. In this context, mankind appears to be only a passive subject of wheels that have already been put in motion by the Gods. This determinism renders us as helpless victim or witness, of agendas contained within different spheres of reality. In one reality, the drive to serve an obsession, leads to the creation of one type or form, of Golem 'as Android'. In another (supposedly earlier) reality; the drive to serve a different obsession (a fear or loathing), leads to the creation of a different type, or form, of Golem 'as Deadly Species'.

Here, 'Golem' is embodied not just by the form an entity takes, but also the purpose of its creator, and the ultimate consequence of this Act of creation. In this sense, Golem, can take the form of an Android, a Pathogen, a Human Being, or even perhaps, an Idea.

Is this why some ideas may be considered to be dangerous, and why some of those in power may feel compelled to pass judgements and control ideas they decide are undesirable?

Form embodies purpose, purpose is expressed through form. Form can be expressed through different mediums. So what is the purest form of medium? Is it Darkness, is it Light, or is it Thought? What is the consequence of a thought form that acts upon creation, and does the outcome (no matter how great, or how terrible), really matter?

If the creator engineers were justified in trying to destroy mankind, is it possible they were completely justified? Is it possible there is something about human beings that gives them a unique potential for destruction? What did they know, and why were they willing to take such desperate measures to carry out their mission?

If mankind's inevitable destiny, to repeatedly fail, depends on his repeated failure to learn from past mistakes; what happens if mankind starts learning from past mistakes, and stops repeating them? What form would a Success-Of-This-Kind take?

What if we forget our hang-up about labels like Mankind, or Alien, or Artificial Intelligence; and instead think in terms of Advanced Consciousness. Could something about mankind's Advanced Consciousness, make it uniquely vulnerable to being used for a particular purpose? Could this purpose that mankind may be vulnerable to being used for, be ultimately what is so dangerous in the universe, and if so, what might this danger be?

Is Alien: Covenant, actually a re-boot of the dominant themes within Prometheus, but in modified form, let's say version 2.0?

Surely, the GOD-In-Charge, is the one with the idea of a purpose, and the one who also (and this is crucial), has the power and the resources at their command; to put this idea of a purpose into action?

The Creator Engineers had their mission. The Wealthy entrepreneur had his? Who will be the next God, and what form or forms will their power take as they put their idea of a purpose into action? What lessons will mankind learn, or fail to learn again?

Alien: Covenant, doesn't just explore at the entrance of a rabbit hole. It IS a rabbit hole, masquerading as a sci-fi movie.

Prepare to dive deeply and to be deafened by the answers to the echoes of your own questions, or by the silence of your own indifference.

A very Zen, Pure, and Subtle, Sci-fi Classic. Bravo.

Written by me: Jerome Willner - 2021 10 31 - 18:36Hrs (Sun).

This Way of Life (2009)

This subtle and powerful story, holds a dark mirror to modern life, and asks if we are prepared to lose what our modern society might be permanently taking from us. Profound.

[9/10 · 27 October 2021]

This intimate fly-on-the-wall documentary by Barbara Sumner Burstyn and Thomas Burstyn, follows the trials of a young family trying to reconcile the diametrically opposed realities of living a natural life, with a life lived according to the dictates of a modern capitalist society. The Lush and green area they call home, lies in the Hawkes-Bay region of NewZealand, and bears witness to the famed phrase from John Milton's Paradise Lost, that (... the mind is its own place, and in itself can make a heaven of hell, a hell of heaven.) The extent to which this sentiment becomes a dominant, multi-layered theme in this documentary, may speak more to the state of our modern capitalist society, than to any flaws in the characters of Peter Ottley-Karena or his partner, Ngati Maniapoto 'Colleen'; as they struggle to raise their young children. Any effort bringing strangers and film equipment into people's lives, will inevitably distort those lives to some extent, and in that regard, this work is no more immune from 'tainting' the integrity of its 'subjects' than any other documentary. Despite the inevitable 'flaws' in the making of this fly-on-the-wall-story, there is a subtle but powerful sense here, that the greater immediate threat to mankind may not lie in the degradation of the environment, but instead, may reside insidiously, in the gradual and permanent degradation of man's ability to express himself and herself; as decent human beings. This is surely a message we should pay attention to. Profound.

Bone Tomahawk (2015)

This nerve-shredding watch, might just be too much to properly process on the first viewing. Well made and uncompromisingly horrific.

[9/10 · 23 October 2021]

There is a solid workman-like build quality to this movie, which bears several tell-tale hallmarks of a coherent vision. It should therefore come as no surprise, the principal creative force, S. Craig Zahler is credited as; Scriptwriter, Director, and (unusually), also the Movie-Score composer. The script is taut and purposeful, with an almost 'Tarantinoesque' attention to the small but important details. The slow pace feels deliberate, and lulls you into a false sense of ease, which is exactly where Zahler wants you. In this state, you don't feel the horror creeping up on you until it's too late. From this false sense of peace, your comfort zone is shattered by an explosive change of circumstances. There's extremely effective use of tension and psychological dread, where you know bad things are going to happen, but not when. You know the enemy is brutal but also realise your hope they aren't also worse than just brutal; is definately futile. The purposeful contrast between the shroud of the imagined unseen, and the gross actual violence, makes this a nerve-shredding watch, that just might be too much to properly process on the first viewing. Well made and uncompromisingly horrific.

Winter's Bone (2010)

A story that casts an unflinching gaze on the details, and sometimes brutal realities, of life lived-on-the-edge, in an isolated rual community tainted by the drugs trade.

[9/10 · 13 October 2021]

At her wooden timber homestead in Ozarks - Misouri, seventeen-year-old Ree Dolly (Jennifer Lawrence), finds herself abandoned by her father. Left alone and impoverished, with two young siblings, and a mentally impaired Mother to care for, she is also beset with a 'difficult situation', that threatens their already marginal livelihood. Daniel Woodrell, the original author of (Winter's Bone of 2006 - publisher Little Brown & Co), and screenplay co-writer with also-Director Debra Granik; deliver a bleak and authentic story. A story that casts an unflinching gaze on the details, and sometimes brutal realities, of life lived-on-the-edge, in an isolated rual community tainted by the drugs trade. Compellingly Real.

The Fly (1986)

Despite some uncomfortable viewing, there is a great deal to enjoy for connoisseurs who prefer their horror-steak done rare.

[7/10 · 21 September 2021]

David Cronenberg's most commercially successful movie, had its screenplay co-written by Charles Edward Pogue, who came with established writing credits for 1983's made-for-tv, Hound of the Baskervilles. Set in a dusty dis-used industrial warehouse complex, it might equally have been at home in the ruins of some suburban gothic mansion. Unsurprisingly, there is a strong current of gothic-tone to this movie, with its alienated but genius scientist, nurturing a lonely obsession to the point of madness and beyond. Jeffrey Goldblum's presence and left-field humour is a perfect fit for the manic scientist, and the plot maintains reasonable credibility throughout, despite what may have been David Cronenberg's leanings to take things closer to the bone and beyond. A fairly straightforward plot slyly sets the table for a more complete devastation, as the fuller impact of transpiring events unfold. This 'turning' is key to the movie's impact because we are quietly and inexorably drawn into a nightmare of horrors which is exactly what David Cronenberg may have intended. Though a somewhat neglected diamond-in-the-rough, this movie may have been quietly influential. Observe the parallels between Jeff Goldblum's transformed scientist, and Heath Ledger's (Dark Knight) Joker; both struggling grotesquely with their disappearing humanity through what remains of their twisted human forms. Despite some uncomfortable viewing, there is a great deal to enjoy for connoisseurs who prefer their horror-steak done rare.

Pan's Labyrinth (2006)

This complex weave of war espionage and fantasy is a rare and lasting testament to the art of film-making at it's finest.

[9/10 · 19 September 2021]

As Director, Producer, and Screenplay Writer; Guillermo del Toro fully realises his vision of a nightmarish fairytale. This complex weave of war espionage and fantasy is beautifully shot by cinematographer, Guillermo Navarro, and a rare and lasting testament to the art of film-making at it's finest.

First Cow (2019)

This gentle and beguiling journey leaves the viewer wanting more and is deeply rewarding.

[7/10 · 16 September 2021]

Director Kelly Reichardt delivers a layered mystery through the lens of a simple story in a time long past. First Cow, quietly and thoroughly, evokes a range of authentic human experiences, which at their core are universal, yet still rooted in the dominant themes of their day. This gentle and beguiling journey leaves the viewer wanting more, but is none-the-less; deeply satisfying, reaching parts of the imagination that other movies only dream of. Rewarding.

Gone in 60 Seconds (1974)

Despite a loose script and general chaos, this movie has deservedly earned a hard-to-pin-down, cult status, amongst the-great-and-the-good in the car-movie genre. Rewarding.

[8/10 · 14 September 2021]

Though loosely scripted and chaotic, with some barely visible scenes, due to inadequate night-time illumination; this 1970's car-theft and car-chase caper, consistently maintains high-octane entertainment value. Despite the minimal dialogue, the hot-under-current of underlying themes, alongside a consistently subersive counter-culture tone; do sterling service in driving a simple core plot, to a somewhat contrived, but none-the-less, rewarding conclusion. Little wonder, this movie has deservedly earned a hard-to-pin-down, cult status, amongst the-great-and-the-good in the car-movie genre. Rewarding.

Taxi Driver (1976)

Martin Scorcese's Taxi Driver (1976), could quite possibly occupy the rare distinction of being a 'new genre' movie experience.

[9/10 · 30 August 2021]

Martin Scorcese's Taxi Driver (1976), could quite possibly occupy the rare distinction of being a 'new genre' movie experience. This unique blend of societal degradation, alienation, idiology, politics, sleeze, and ultra-violence is woven seamlessly into a eulogistic, yet paradoxically disconnected poem; of pain, confusion, and cleansing redemption. The sheer depth of expression here, is far too much to process in one viewing. After several views, it might just become blatantly obvious why this troubling classic with it's haunting signature jazz music score, has earned itself a place amongst the 'greats' of cinematic composition. Astounding.

Death Proof (2007)

Never a dull moment in this Death Proof ride.

[7/10 · 23 August 2021]

Quentin Tarantino's 70's throwback petrol-head oddysey, comes fully loaded with side orders of his signature dizzying hyper-styalized dialogue, and over-the-top action; with a garnish of the unexpected sinister, thrown in for good measure. Never a dull moment in this Death Proof ride.

Flashbacks of a Fool (2008)

This surreal whimsical story of growing pains, regret and redemption is Obscure but Wonderful.

[7/10 · 22 August 2021]

This surreal whimsical story of growing pains, regret and redemption, parallels a lonely coastal hamlet in the 1970's as the flashback; with a contemporary luxurious and stylish, but lonely uba-villa in the noughties as the outcome. Jo's life has been colourful, and a phone call in a moment of crisis, takes him Right Back To When He Was Young. We are reminded that the past is ever present in our lives, and has the power through music and emotions, to re-connect us to what really mattered to us; even as we lost ourselves in worldly affairs. Obscure but Wonderful.

Bad Timing: A Sensual Obsession (1980)

More a time-bending immersion than a mere movie, Roeg's art achieves brilliance and provokes infamy.

[7/10 · 8 May 2021]

Director Nicolas Roeg's Bad Timing, invokes the espionage intrigue of the spy who came in from the cold, the impressionist surrealism of the third man, and the tormented debauchery of the Last Tango in Paris. There is always more going on than meets the eye, and continual flash-backs, blur the boundary between the real, and the imagined, so the story's blended arc becomes foggy and dream-like. When you finally tire of trying to keep track of what is going on, it ceases to really matter, and watching becomes less about understanding, and more about having a communion with an immersive experience. This shift is key, because with it, comes the revelation, that logic, reason, and understanding are besides the point. This is the design behind Roeg's orchestration, and quite unannounced, the lyrical poetry of his composition, reaches a sweet climax, well before the ending, allowing us the time for our senses to return to some kind of normal. Time itself seems to stretch, as the movie feels much longer than it's two hours, though this is time well spent, if you are along for the ride.

A Little Trip to Heaven (2005)

Though not a commercial success at the box-office, this odd-ball movie, Set in America, but Filmed entirely in Iceland, has much to commend it.

[5/10 · 12 March 2021]

An Insurance Loss-Adjuster 'Forest Whitaker' is urgently sent out by his boss to 'adjust' a large LIfe Insurance Claim. His destination is a small town in the middle of no-place. Once there, he begins his work. This is an unusual movie, with a slow tense atmosphere, set in a bleak and inhospitable wintry landscape that broodily looks on as proceedings unfold. Though not a commercial success at the box-office, this odd-ball movie, Set in America, but Filmed entirely in Iceland, has much to commend it.

Bobby Fischer Against the World (2011)

This is a remarkable documentary about a remarkable individual, whose name will long endure in the Chess World he sought to conquer.

[7/10 · 12 March 2021]

Chess Prodigy, Bobby Fischer died in 2008 at the age of 64. The same year, Liz Garbus (Director), began work on this HBO distributed documentary, finally released in 2011. The editor was Karen Schmeer; who incidentally, was killed in January 2010. Apparently she was the victim of a hit-and-run-driver, allegedly trying to flee a robbery at a pharmacy. In 1972, (then aged just 29), Bobby was poised to become the World Chess champion. Such as it was, his life was one mired in controversy and intrigue. The documentary reveals a shroud of mystery about many details of this man who rose to Global Prominence, yet is a lucid and coherent story, patched together from a wealth of TV footage and interviews with people who knew him. Overall there may be many questions left un-answered, but none-the-less, this is a remarkable documentary about a remarkable individual, whose name will long endure in the Chess World he sought to conquer. Coincidentally perhaps, Bobby Fischer died in his 64th year; the same number as there are squares on a chess board.

Beyond Valkyrie: Dawn of the 4th Reich (2016)

Packing a complex but fascinating plot, this movie delivers that rare trinity of well balanced humour, solid acting, and gripping drama. Excellent.

[7/10 · 12 March 2021]

In 1944, the Allies are racing each other to occupy Germany as Hitler's armies buckle under the relentless russian offensive. Believing the war is already as good as lost, a renegade faction of the Nazi party are planning to assassinate Adolf Hitler. Another mission of equal or greater importance was launched simultaneously by American and Russian commands, to capture the faction's key Nazi leader and bring him back alive. This leader is believed to be in posession of information that both superpowers want to secure at all costs. This information relates to not only the plan to assassinate Adolf Hitler, but also to the potential continuation of the Nazis party. This information would be of strategic importance to the post-war negotiations, and both sides want it, even though they are unsure of what it is exactly. This intriguing plot is well delivered under Claudio Fäh's Direction. The movie punches well above it's weight and most of the time, manages to look like it was produced with a much larger budget. The acting performances are excellent, and the occasional humour in some of the scenes is very well balanced, keeping the action bouncing along. Character development is very good, so we quickly know who the main characters are and where they are coming from. A worthy watch.

American Sniper (2014)

A worthy telling, of a note-worthy figure in just one of many, Theatres of War.

[5/10 · 12 March 2021]

A patriotic American signs up for the SEALS after the 911 atrocity, and becomes a high profile Sniper, serving four tours in Iraq. Though being possessed of traits well suited to his role, the arc of this story speaks to the moral ambiguity of armed conflict, and that this seal's training had not prepared him for what it would take to survive the emotional and existential crisis that accompany this role. Director, Clint Eastwood, widens the narrative of conflict, beyond simply the good guys and bad guys, and does succeed in delivering a thought provoking story; based somewhat on the story of Seal Sniper Chris Kyle. That being said; the more full and objective story of Chris Kyle may be far more complex and difficult to package and portray. This is none-the-less a worthy telling, of a note-worthy figure in just one of many, Theatres of War.

Altered States (1980)

You may enjoy this movie's quirky character, and fondly forgive it's many flaws. It's a peculiar thing, but also one of rare beauty.

[5/10 · 12 March 2021]

A doctor in psychology is researhing schizophrenia. He is fascinated by his colleagues research findings, and decides to try a session in a sensory deprivation tank for himself. During the session he experiences hallucinations, and embarks on a one-man mission to discover more. He is not sure exactly what what he is looking for, but he is tired of his hum-drum routine, and convinced there are worthwhile discoveries to be made. This open ended approach to story telling, coupled with the strangeness of the subject, are likely to sharply divide audinces between those who are turned on and those who are turned off. If this type of subject turns you on, you may enjoy this movie's quirky character, and fondly forgive it's many flaws. It's a peculiar thing, but also one of rare beauty.

Allied (2016)

The plot manages to remain credible throughout, and avoids any blatant artifice or tired tropes to induce a heart racing finale. Solid Stuff.

[5/10 · 12 March 2021]

Assigned behind enemy lines to assassinate a wanted target, a Canadian Intelligence Officer is forced to take a circuitous route to his rendezvous. His parachute descends over Northern Africa, French Morocco, and he makes a hard landing on a sand dune in the dessert. It's 1942. World War 2 is raging, and he has yet to meet his partner for the mission, a Female French Resistance Fighter. As he walks along the nearest road, an aproaching dust cloud rises from the horizon, indicating an oncoming vehicle. As he reaches for his gun belt, he does not know if the driver is friend or foe. As espionage war dramas go, this one is fairly decent. Though the pace can feel a bit slow occasionally, on the whole, the show rattles along quite nicely. The plot manages to remain credible throughout, and avoids any blatant artifice or tired tropes to induce a heart racing finale. Solid Stuff.

Amityville: The Awakening (2017)

Though relatively lightweight, this movie is of interest within the 'Amityville Haunting' Story-Making phenomenon, and attempts to re-ignite the magic of it's 1979 debut.

[5/10 · 12 March 2021]

38 Years after 1979's - The Amityville Horror, and 12 years after the 2005 remake; 2017's - Amityville 'The Awakening' brings us back to the ill fated house for another dose of supernatural horror. As this movie's only link with the original was the House and it's evil reputation, it was otherwise free to walk it's own path and tread wherever the Screenwriter and Director Franck Khalfoun, and the Cinematographer Steven Poster, wanted it to. For anyone puzzled by the legion of Amytiville 'Haunting' movies since the 1979 premier "The Amytiville Horror", there are good reasons why the November 2017's "Amytiville - The Awakening", brings the movie count to-date, up to 23. Studios, Directors, Producers, and Writers, are legally free to use the Amityville ghost story elements because Amytiville is a real town and the stories of the murderer, Ronald DeFeo Jr, who shot and killed six members of his family at the house, and the Lutz family that bought the property one year later, only to flee from it in terror after one month; are based on historical facts. This lack of any proprietory relationship between elements of the ghost story and the people involved, means there are no restrictions on the story which explains why most of the Amityville films have no continuity, were made by different companies, and tell different stories. Judging by the box office figures, the appeal of the Amityville Haunting Story may now be in decline. The original 1979's 'The Amityville Horror' grossed a staggering $86 Million against a budget of under $5 Million. 2005's 'The Amityville Horror' grossed a very respectable $105 Million against a budget of $20 Million. 2017's 'Amityville - The Awakening' grossed only $7.7 Million against an unspecified budget, which some may consider is an indication, it made an unspecified loss. Though, it received only a luke-warm reception by critics, this movie, whilst being somewhat flawed, may actually have deserved better than it got. It appears to borrow somewhat from the style, tone, pace, and themes of other horror movies, which is nothing new, and of itself does not present an issue here. Most significantly, there are shades reminiscent of the phenomenally successful 1973 Exorcist, which was a mix of pure psychological terror, and truly effective horror. Some elements in the plot could have confused and weakened the movie's core story, thereby reducing the psychological impact of some of the scenes. On a more positive note, the movie looks excellent throughout. There is a clear and conscious effort to craft the scenes, which look great, and the use of audio and visual effects do effectively build tension and sustain interest. The actors all look the part and sustain very consistent character delivery throughout, though the camera 's tendency to linger a little too long on Bella Thorne in various scenes was mildly distracting. In all, it is definately a competent piece of film-making, that entertains, and rewards the viewer's commitment. Though it may not set any standards in the horror genre at-large, this movie is of interest within the 'Amityville Haunting' Story-Making phenomenon, and attempts to re-ignite the magic of it's 1979 debut.

99 Homes (2014)

A Superb Exposé of the Home Foreclosure Industry and the broken lives left in it's wake. A Must Watch.

[9/10 · 12 March 2021]

Ramin Bahrani's (The Director's), take on 2000's Home Fore-Closures by the Bank(s) - (Screenplay - Amir Naderi); is an incisive and relentless Exposé on the mechanics and inner workings of an 'industry' that takes people out of their homes and dumps them onto the street. There are 6 principal characters in this drama. The home-owner (with family), the enforcement officers (sheriff), the foreclosure-agent (with team), the court; and two others. One of these two is known to most as the Banker or Banks, or financial institution(s). The other of these two (most probably unknown to most); are high level speculators who trade in real-estate forclosures on a wholesale scale. This story's impact is based on a coherent and itelligent telling of how these characters experience their roles in this Human Drama. Human Drama which centres on a basic fundamental need for shelter, for a place, and for a home. It also thankfully plays to the message that human beings despite overwhelming coersion, do actually have a choice about how they respond to injustice, and the choice(s) they make in the face of this challenge, can and do; Make A Difference. Essential Viewing.